Vorlage:2013 Sekundärbibliographie Liturgie

Aus Romano-Guardini-Handbuch

Zu: Liturgiewissenschaft/Liturgische Bewegung

Zu: Christliche Kunst und Architektur

  • [2013-107] Stefan Böntert: Katholischer Kirchenbau zwischen theologischem Anspruch und gesellschaftlichem Wandel. Raumkonzepte in der Liturgiereform nach dem II. Vatikanum, in: Frank Bösch/Lucian Hölscher (Hrsg.): Jenseits der Kirche: Die Öffnung religiöser Räume seit den 1950er Jahren, 2013, S. 29 ff. - https://books.google.de/books?id=Bll4DwAAQBAJ&pg=PA38; zu Romano Guardini S. 31 f., 38
  • [2013-108] Irene Meissner: Sep Ruf 1908-1982, Berlin 2013 [Monographie] - [noch nicht online]; zu Romano Guardini S. 95, 358 u.ö.
  • [2013-109] [Englisch] Flora Samuel/Inge Linder-Gaillard: Sacred Concrete. The Churches of Le Corbusier, Basel 2013 [Monographie] - https://books.google.de/books?id=kAwk1_3WdPMC; zu Romano Guardini im Unterkapitel: The Liturgical Reform Movement S. 26-29
    • S. 26: „The 1920s saw the birth of the Liturgical Reform movement with ist vast repercussions for church art, architecture and ist interior as well as, liturgical spaces all over the world. The italian-born Romano Guardini (1885-1968) is often cited as ist instigator[59] Guardini´s books Vom Geist der Liturgie, 1918 (translated into French as L'Esprit de la Liturgie and English as The Spirit of the Liturgy, both in 1930) and Von Heiligen Zeichen, 1922-23 (translated into French as Les Signes Sacrés and English as Sacred Signs, also both in 1930) were among his most important writings. Guardini led a Catholic youth centre in Rothenfels am Main, Germany, over the period 1920-39. This was an international gathering place and a breeding ground for a number of important actors in the fields of theology and architecture. Here in 1928, with the help of architect Rudolf Schwarz, Guardini developed a multipurpose space in the former Rittersaal [sic! Rittersaal und Kapelle sind zwei Räume] of the castle for celebration of the Mass, meetings, and other gatherings. Modern, sober stools were provided for seating, to be moved around as necessary within an austere space devoid of decoration, the aim being to retrieve the simplicity of the early church (Fig. 1.12). The priest was to celebrate Mass facing the small congregation, gathered around the altar in a horseshoe shape. Here Guardini made liturgical space into something simple and flexible which provided for a greater amount of proximity and participation. Schwarz´s impact on Liturgical Reform is not to be underestimated. With ist affinities with the Bauhaus and influenced by Zen, his Wegkirche, or path-church, of Corpus Christi, Aachen, 1930, left room for the "invisible" (Fig. 1.13).60 Schwarz was also an important theoretician. His landmark Vom Bau der Kirche was published clandestinely in 1938 and republished in 1947. Mies van der Rohe wrote an eulogistic forword to the English-language edition of 1958 entitled The Church Incarnate, the Sacred Function of Christian Architecture. 61 Mies and Schwarz would come to inhabit a very different faction of church architecture to Le Corbusier.“
    • S. 28: „1.12. Rudolf Schwarz and Romano Guardini, multipurpose space in the former Rittersaal, Rothenfels am Main, 1928 1.13 - Rudolf Schwarz, Wegkirche, or path-church, of Corpus Christi, Aachen, 1930.“
    • S. 99: „Rudolf Schwarz and Romano Guardini developed such ideas into a more "theocentric" view of architecture, emphasising a father not manifest, the God beyond human experience and our "play" before him. Mies was a supporter of Guardini, the mute forms of his chapel at IIT [Robert F. Carr Memorial Chapel of St. Saviour at Illinois, Institute of Technology], expressing an apophatic view of that which we cannot speak (Fig . 4.27). Whether Le Corbusier himself was party to these debates is not known though it seems very likely that he was familiar with the widely publicised work of Dominikus Böhm, strongly influenced by Van Acken, perhaps through the pages of L'Architecture d'aujourd'hui or through conversation with the enlightened clergy that he counted amongst his friends.50“
  • [2013-110] Walter Zahner: „Schönheit ist der Glanz des Wahren.“ Anmerkungen zur Sakralität im modernen Kirchenbau, S. 1-26, zu Romano Guardini S. 2, 5f. und 9 (Vortrag aus Anlass des Aschermittwochs der Künstler am 13. Februar 2013 in Köln, ergänzt durch Anmerkungen) - [Typoskript] - https://www.erzbistum-koeln.de/export/sites/ebkportal/kultur_und_bildung/kuenstler/.content/.galleries/002.Aschermittwoch/AdK2013/Koeln_2013_-_Schoenheit_ist_der_Glanz_des_Wahren_Zahner_-_Aschermittwoch.pdf
Zu: Kultbild und Andachtsbild (1938)
  • [2013-111] Albert Gerhards: Kultbild - Andachtsbild - Mysterienbild. Eine Relecture von Romano Guardini und Urban Rapp, in: Hans Körner/Jürgen Wiener (Hrsg.): "Kultbild und Andachtsbild". Moderne Bilder im christlichen Sakralraum, Essen 2013, S. 11-18 [Artikel] - [noch nicht online]

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